Altuzarra’s increasing assurance (and, of course, his win in the 2011 CFDA/Vogue Fashion Fund) means that he can actually meld these varied inspirations into a coherent (and beautifully made) whole—even if there were occasional echoes of Nicolas Ghesquière’s own authoritative foray into the world of urban chic–meets–global traveler.

Altuzarra has an innate sense of elegance all his own, however, one that corralled the eclectic images on his inspiration board into some very stylish looks. The show opened, for instance, with a duffle coat in curly black Mongolian lamb, its sleeves formed from embroidery that replicated Berber wedding blankets with their alternate fronded and flat woven stripes, and dangling silver-disc sequins. Like many of the looks, it was finished with a pair of chic, high patent-leather boots.

Those black-on-white lozenge rug motifs were echoed in sweaters (like quirky Fair Isles) and printed onto satin that was draped into well-behaved cocktail frocks, or a pencil skirt worn with an emerald velvet dandy jacket, or, even, printed onto a rounded coat that melded the parka with a dash of (Cristóbal) Balenciaga.

The precision of equestrienne-friendly tailoring (and the hint of a jodhpur curve to a pant) was amplified by the horsehead motif in a brace of sweater knits. Ivory ecclesiastical collars added a flourish to prim little black cocktail dresses, and shapely forties jackets in stiff wool were worn with skirts that bristled at the knee with thick rug-knot fringing. But Altuzarra’s ethnic touches could be just that—a V-shape of Indian bobble braid on a schoolboy sweater, for instance, or the swinging tassels on those dashing boots.

But the finale dresses were unashamedly souk-spectacular; thick with the fringes made of silver sequins—like those on the rugs that Altuzarra researched on a recent trip to Marrakech—that jangled tunefully on the runway.